This special edition of Sapan Blog is a collaboration between Sapan and MoUSICi.
By Arshad Mahmud
Allama Iqbal is widely celebrated as a poet-philosopher who articulated the social, political, and spiritual concerns of South Asia against the backdrop of increasing British colonial control. Writing extensively in both Persian and Urdu, his verses frequently establish a metaphorical dialogue between the human being and the Divine, reflecting a deep engagement with questions of faith, destiny, human potential, and the dynamic relationship between the individual and God.
The ghazal ‘La Phir Ik Bar’ (Bring back once again) continues this profound exploration, focusing on self-realisation, intellectual inquiry, and the individual’s responsibility to confront their own destiny.
Verse-by-Verse Philosophical Breakdown
The opening verse serves as a prayer. In our poetic tradition, the Saqi (wine-server) is far more than a mere server of wine; the Saqi is the ultimate giver and bestower, an attribute traditionally associated with the Divine. The plea is an appeal to regain the spirit, confidence, strength, and sense of purpose possessed in the past, urging us to recognise the potential and capabilities that still lie dormant within.
The second verse offers a complaint addressed to the Saqi: ishq kī teġh-e-jigar-dar uda li kis ne, ilm ke haath mein khali hai niyam ai saaqi (someone has stolen from us the sword of passion, leaving nothing but its scabbard). The sword is a metaphor here, for the living force, passion, courage, and conviction that once made individuals dynamic. The Scabbard represents what remains in the hand of intellect and knowledge after the spirit and will to excel have been lost.
In the Third Couplet, Iqbal invokes the Sher Mard (metaphorically, the bold, active human spirit). This spirit has gradually drifted away from the essential tasks of questioning, exploring, and investigating. Consequently, it has surrendered its agency, allowing judgment to be shaped by the unquestioned authority of religious orthodoxy. Iqbal’s core concern here is the dangerous abandonment of independent critical thought.
The ghazal concludes by returning to the language of prayer, expressed with sincerity, humility, and complete faith in Divine benevolence. The imagery goes beyond a literal request for light, transforming into a metaphorical plea for guidance, illumination, and hope amidst societal and spiritual darkness.
Musical interpretation: A choral voice
Since what Iqbal highlights in these verses is a collective condition of societies shaped by Urdu and Persian cultural sensibilities, I chose to compose the ghazal in a choral form.
Rather than framing this struggle as a solitary internal journey, the musical arrangement recognizes it as a shared, collective predicament. By scoring the ghazal for the AM Choir, the performance allows Iqbal’s timeless message of awakening and resistance to be voiced through a unified, collective musical harmony.
Watch the music video here:
Arshad Mahmud is a music composer, actor, and educator in Karachi, deeply involved in preserving and innovating Southasian classical and contemporary music.
About the Sapan Blog
The Sapan Blog is a space for reflection, commentary, and conversation by members of the Southasia Peace Action Network community. Here, Sapaners, journalists, peacebuilders, artists, and thinkers share personal essays and perspectives that connect Southasia’s stories, challenges, and triumphs. From culture to climate, sport to solidarity, these blogs go beyond the headlines to bring you the region’s heart and humour.
Why do we write ‘Southasia’ as one word? Because our histories are intertwined, our futures interlinked, and our struggles deeply connected.